Navarasa

Indian art evolved with an emphasis on inducing special spiritual or philosophical states in the audience, or with representing them symbolically.

Of particular concern to Indian drama and literature are the term 'bhAva' or the state of mind and 'rasa' (Sanskrit रस lit. 'juice' or 'essence') referring generally to the emotional flavors/essence crafted into the work by the writer and relished by a 'sensitive spectator' or sahṛdaya or one with positive taste and mind. Rasas are created by bhavas. They are described by Bharata Muni in the Nātyasāstra, an ancient work of dramatic theory.

Although the concept of rasa is fundamental to many forms of Indian art including dance, music, musical theatre, cinema and literature, the treatment, interpretation, usage and actual performance of a particular rasa differs greatly between different styles and schools of abhinaya, and the huge regional differences even within one style.

A rasa is the developed relishable state of a permanent mood, which is called sthAyI bhAva.. This development towards a relishable state results by the interplay on it of attendant emotional conditions which are called Vibhavas, anubhAvas and sancharI/ vyAbhichArI bhavas. The production of aesthetic rasa from bhAvas is analogous to the production of tastes/juices of kinds from food with condiments, curries, pastes and spices. This is explained by the quote below:

Vibhavas means karana or cause. It is of two kinds: [Alambana], the personal or,human object and substratum, and Uddipana, the excitants. Anubhava, as the name signifies, means the ensuants or effects following the rise of the emotion. vyAbhichArI bhavas are described later in this aspect.

The Rishi Praskanva insists (Rig Veda I.46.6) that the sources of knowledge some of which are open and some hidden they are to be sought and found by the seekers after Truth, these sources are not available everywhere, anywhere and at all times. In this context Rishi Agastya (Rig Veda I.187.4) stating thus –

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